全文: "田中絹代"
22件中 1-20の結果を表示しています
  • 斉藤 綾子
    2012年 61 巻 1 号 78-79
    発行日: 2012/01/10
    公開日: 2017/08/01
    ジャーナル フリー
  • 秋野 豊太

    1935年 9 巻 41 号 60-62
    発行日: 1935/12/05
    公開日: 2008/12/24
    ジャーナル フリー
  • 金子 明雄
    2009年 58 巻 12 号 74-75
    発行日: 2009/12/10
    公開日: 2017/08/01
    ジャーナル フリー
  • 中原 ゆかり
    2002年 6 巻 39-50
    発行日: 2002年
    公開日: 2009/10/29
    ジャーナル フリー
    This essay concerns the activity of the Nisei amateur orchestras in Hawai'i after the Pacific War.
    In the postwar period, there were more than 40 Nisei orchestras performing Japanese popular songs at events and parties held by and for Americans of Japanese ancestry in Hawaii. Some of the orchestras also put on stage shows and produced many records. Of the few pieces composed by Nisei musicians, “Wakare no Iso Chidori, ” composed by Francis Zanami, became a big hit in Hawaii. A few years after it's release in Hawaii, a famous Japanese singer, OMI Toshiro, also recorded this song and his version became quite popular in Japan. Over the same period, several Nisei singers made their debuts in Japan as well.
    The Nisei Orchestras flourished only for four or five years after the war. In that short period, they used music as a tool to express their confidence and pride as Americans of Japanese ancestry, as well as to reestablish ties with the land of their parents.
  • 北村 匡平
    2016年 96 巻 68-88
    発行日: 2016/07/25
    公開日: 2016/08/19
    ジャーナル フリー




  • 佐藤 忠男
    1975年 1 巻 28-37
    発行日: 1975/05/01
    公開日: 2017/12/11
    ジャーナル フリー

     Kenji Mizoguchi was very fond of using the crane in his shooting i.e. he was extremely fond of shooting by downward angle. On the other hand, he often filmed very effectively by making a ditch and a dug-out in his set, and tried to shoot the scenes by upward angle from the position lower then the surface of the ground.

     In his works of the 1920s when the crane had not as yet been used, Mizoguchi liked very much to use downward and upward angle, and there was recognized the rule in his shooting.

     The majority of Mizoguchi’s films portray the complications of love between a man and a woman. And in the scene in which a man has an awful feeling toward a woman, upward angle is used, in the mean time when a man gets a superiority over a woman, downward angle is effectivery used. This was because Mizoguchi caught the complications between a man and a woman as the subject of governing and being governed.

  • 北村 匡平
    2016年 88 巻 77-96
    発行日: 2016/01/31
    公開日: 2017/10/06
    ジャーナル フリー
    The aim of this paper is to align Kyo Machiko's performance style as a vamp actress with the history of Japanese cinema, and explore postwar public consciousness and desire through her star persona. The voluptuous Kyo Machiko made her film debut in 1949 and went on to become one of the leading actresses of the postwar generation. Her rise to stardom was closely related to many of her roles that embodied social phenomenon amid a trend for kasutori culture, in the sexually liberated climate following the Second World War. In contrast to the intense characters on screen, she portrayed herself as modest and graceful, which enabled her to convey multiple messages within the context of her fame. She depicted a dual-star persona as a result of the contrast between her vamp characters in films and her modest, feminine personality in fan magazines; accordingly, she gained fame as a star across generations. Through the 1950s, she appeared in works by some of the greatest Japanese filmmakers, which catapulted her to international stardom. She was sometimes referred to as "the Grand Prix actress." Following the success of Akira Kurosawa's Rashomon (1950), a growing tendency to promote Japanese cinema overseas emerged, eliciting the gaze of Orientalism from Western spectators. International stardom led to an even more complicated gaze on Kyo Machiko's body. Star/Celebrity studies have developed certain methodological frameworks since Richard Dyer's Stars. From a theoretical perspective, this paper focuses on the film star Kyo Machiko as a cultural text, and analyzes how fans or critics viewed both her cinematic persona, performing acts of violence on screen, and her own persona, which represented traditional Japanese imagery in fan magazines. This research concludes that Kyo Machiko's cinematic body became a national body and functioned as an esthetic vehicle, reflecting both the desire of a trans/national identity and the desire to localize her star image for Japanese spectators.
  • 岩田 ななつ
    2015年 93 巻 216-219
    発行日: 2015/11/15
    公開日: 2016/11/15
    ジャーナル フリー
  • 神田 龍身
    2009年 58 巻 3 号 75-77
    発行日: 2009/03/10
    公開日: 2017/08/01
    ジャーナル フリー
  • 渡辺 裕
    2013年 2013 巻 36 号 54-61
    発行日: 2013年
    公開日: 2018/11/12
    ジャーナル オープンアクセス
  • 小松崎 将一, 森泉 昭治, 辜 松, 安部 真吾, 牟 英輝
    2004年 39 巻 1 号 23-26
    発行日: 2004/03/12
    公開日: 2010/02/09
    ジャーナル フリー
  • 田村 文誉, 菊谷 武, 須田 牧夫, 福井 智子, 小柳津 馨, 高橋 賢晃, 米山 武義, 梶本 弘, 田中 法子, 柳下 加代子
    2008年 23 巻 1 号 50-55
    発行日: 2008/06/30
    公開日: 2011/02/25
    ジャーナル フリー
    目的: 本研究は, 要介護者の摂食・嚥下機能を評価し, 食事時の観察評価の重要性を明らかにすることを目的として行った。
    方法: 対象は, 脳血管疾患後遺症による摂食・嚥下障害のある要介護者8名 (平均年齢78.4±12.8歳) である。昼食時の食事場面を観察し, 同時にデジタルビデオに撮影した記録から「食事のペーシング」「むせ」「溜め込み」「食べこぼし」を, 頸部聴診にて「嚥下後の咽頭残留音」の評価を行った。VF検査において録画された影像をパーソナルコンピュータに取り込み, 「捕食から嚥下反射惹起時の喉頭最大挙上位までの時間」を計測し, 「嚥下反射前の咽頭流入」「嚥下反射後の咽頭 (喉頭蓋谷・梨状窩) 残留」「嚥下反射後の食道入口部の残留」「誤嚥」「むせ」について評価した。これらの結果から, 実際の食事とVF検査の結果との関連性について検討した。
    結果: 1) 「食事のペーシング」の時間が, VF検査時における「捕食から嚥下反射惹起時の舌骨・喉頭最大挙上位までの時間」より短い者は3名, 1名はほぼ同時間であった。2) VF検査での食道入口部の残留所見と, 食事中の頸部聴診による嚥下後咽頭残留音については, 両者の一致がみられた。3) VF検査では全員むせがみられなかったが, 6名において食事中のむせは, 頻繁またはときどき観察されていた。
    結論: 摂食・嚥下機能の評価においては, VF検査に頼るだけでなく, 食事場面の観察評価が重要であると考えられた。
  • 野田 敦子
    2016年 95 巻 97-106
    発行日: 2016/11/15
    公開日: 2017/11/15
    ジャーナル フリー
  • 佐久間 尚子
    2014年 33 巻 1 号 49-54
    発行日: 2014/09/30
    公開日: 2014/11/26
    ジャーナル フリー
    Cognitive function is important as the foundation of social life and communication with people. This paper focuses on the age-related changes in cognitive function in healthy aging. To summarize the features of cognitive aging, fluid ability, such as information processing speed and memory is likely to decrease, while crystallized ability, such as language knowledge tends to be maintained. However, for example, language function in daily life is a dynamic process consisting of a fluid ability and crystallized ability. As a laboratory research of age-related changes in language function, two experimental studies of word fluency and word listening are described. In addition, as applied research, an intervention study by social participation program is described. The role of psychology in aging society is that it will continue to contribute to deeper understanding of later life and older people themselves. Further developments of basic and applied research are needed.
  • 石村 眞一
    2015年 62 巻 4 号 4_25-4_34
    発行日: 2015/11/30
    公開日: 2016/04/15
    ジャーナル フリー
     鋼管製カンチレバー構造の椅子は,ヨーロッパで1927 年に開発され,日本では1931 年あたりから国産製品が販売されている。ところが,使用実態を示す資料が少ないことから,本論では初期の使用実態を戦前期の映画に求め,その特徴を考察することを目的とした。調査の結果,次のことが明らかになった。①1932年あたりから東京の都心で使用され始めた初期の鋼管製カンチレバーの椅子は,映画には一切登場しない。②映画に初めて鋼管製カンチレバーの椅子が登場するのは1935 年で,1938年まで9作品の中に見られる。③鋼管製カンチレバーの椅子は,自宅で使用する場面と,商品の売り場,ホテルのラウンジ,ダンスホール,医院の待合室といったパブリックスペースで使用する場合とがある。④使用者の階層は特に富裕層とは限らず,ヨーロッパから発信されたモダニズムを,上手に日本社会へ取り込んでいる。鋼管製カンチレバーの椅子の使用を通して,日本の戦前期におけるモダニズムの一端を垣間見ることができる。
  • 齊藤 佳子
    2016年 67 巻 5 号 285-296
    発行日: 2016年
    公開日: 2016/05/21
    ジャーナル フリー
      In the present paper we analyzed factors of the social background responsible for the rise and decline of dressmaking schools, which played a major role in the westernization of clothes in postwar Japan. Our analysis was based on statistical data arranged in chronological order, from which we obtained new knowledge and insight.
      In connection with the rise of these schools, we clarified the influence of various factors on the dressmaking boom. These factors were: (a) the supply-demand structure such as the production volume of the textile industry and the household spending situation; (b) the popularization of fashion; and (c) various mass media.
      In connection with the decline of dressmaking schools, we also clarified the influence of various factors on the boom convergence. These factors were: (a) the commercialization of synthetic fibers and automation of the manufacturing process; (b) the rise of the apparel industry by mass production and development of distribution sales channels; (c) the spread of ready-to-wear through marketing; and (d) the increase of students receiving higher education.
  • 中原 ゆかり
    2006年 10 巻 143-152
    発行日: 2006年
    公開日: 2009/10/29
    ジャーナル フリー
  • 近藤 和都
    2015年 87 巻 137-155
    発行日: 2015/07/31
    公開日: 2017/10/06
    ジャーナル フリー
    In traditional research on film reception, the cinema experience has been defined by the time period and the space in which audiences experienced the film. However, audiences also experience the cinema before and after going to the movies through the media, such as through film magazines, trailers, posters, and so on. Understanding how the film is received by audiences, researchers should consider other forms of media surrounding the film-going experience. From this perspective, this paper focuses on brochures that were published by almost all of the prewar movie theaters and analyzes the reading practices of audiences. We first compare exhibition practices by movie theaters with those by opera theaters, and argue that movie theater brochures were formed out of Western modern theater publications. The results show that prewar film exhibitors struggled to contextualize the movie into traditional theater exhibitions because cinemas were considered to be of a lower social standing than prior theater exhibitions. After exploring the origin of brochures, we focus on the contributors' column in which audiences expressed their opinions and differentiated themselves from each other to elevate their status. These contributions were regarded as a kind of literature and audiences usually read them before and after watching films. Some audiences were attracted to brochures and collected them. In particular, brochures published by movie theaters in Tokyo gained popularity. Because of the distribution system, a considerable number of films were only shown around the Kanto region. Instead of receiving original text, rural audiences experienced films vicariously through reading the brochures. Through the analyses above, we conclude that the way of watching films during 1920s in Japan was related not only to the film's text but also other practices such as writing and reading and audiences experienced something beyond the screen.
  • 石田 あゆう
    2004年 65 巻 62-77
    発行日: 2004/07/31
    公開日: 2017/10/06
    ジャーナル フリー
     This article studies the changing image of the Japanese women’s beauty in the cosmetics advertisements of woman’s magazine “SHUHU-NO-TOMO” from 1931 to 1943. The image of Japanese Woman’s portrays in cosmetics advertising had changed. to be young, natural, and healthy, because Japanese beauty was considered that they didn’t look pale and white skin but had natural and young one. The data suggest that a real shift in the relationship between makeup and Japanese woman’ image has occurred on cosmetics advertising in consumer society.
  • 赤井 紀美
    2011年 60 巻 11 号 13-25
    発行日: 2011/11/10
    公開日: 2017/05/19
    ジャーナル フリー